(navigation image)
Home American Libraries | Canadian Libraries | Universal Library | Community Texts | Project Gutenberg | Children's Library | Biodiversity Heritage Library | Additional Collections
Search: Advanced Search
Anonymous User (login or join us)
Upload
See other formats

Full text of "XBOX Manual: Hitman - Blood Money"

y^ xeox 



DNLZNE ENRBL 



H ITMAN 

BLOOD ^V^ M O N r Y 



MATURE 17+ 




CONTENT RATED BY 

IesrbI 



/ww.reolacewenidocs.cow^ 



eidos. 



SAFETY INFORMATION 

ABOUT PHOTOSENSITIVE SEIZURES 

A very small percentage of people may experience a seizure when exposed to certain 
visual images, including flashing lights or patterns that may appear in video games 
Even people who have no history of seizures or epilepsy may have an undiagnosed 
condition that can cause these "photosensitive epileptic seizures" while watching 
video games. 

These seizures may have a variety of symptoms including: lightheadedness, altered 
vision, eye or face twitching, jerking or shaking of arms or legs, disorientation^/ 
confusion, or momentary loss of awareness. Seizures may also cause loss of 
consciousness or convulsions that can lead to injury from falling down or striking 
nearby objects. / 

Immediately stop playing and consult a doctor if you experience any of these 
symptoms. Parents should watch for or ask their children about the above symptoms 
— children and teenagers are more likely than adults to experience these seizures. 
The risk of photosensitive epileptic seizures may be reduced by sitting farther from 
the television screen, using a smaller television screen, playing in a well-lit room, 
and not playing when you are drowsy or fatigued. 

If you or any of your relatives have a history of seizures or epilepsy, consult a doctor 
before playing. 

Other Important Health and Safety Information. The Xbox® Instruction Manual 
contains important health and safety information that you should read and 
understand before using this software. 



/ 



COnTEIlTS 




AVOID DAMAGE TO YOUR TELEVISION 

Do not use with certain televisions. Some televisions, especially front- or rear- 
projection types, can be damaged if any video games, including Xbox® games, are 
played on them. Static images presented during the normal course of game play may 
"burn in" to the screen, causing a permanent shadow of the static image to appear at 
all times, even when video games are not being played. Similar damage may occur 
from static images created when placing a video game on hold or pause. Consult 
your television owner's manual to determine if video games can be played safely on 
your set. If you are unable to find this information in the owner's manual, contact 
your television 

dealer or the manufacturer to determine if video games can be played on your set. 
Unauthorized copying, reverse engineering, transmission, public performance, rental, 
pay for play, or circumvention of copy protection is strictly prohibited. 



CONTROLS OF THE PROFESSIONAL 2 

XBOX Live® 3 

Take HITMAN BLOOD MONEY 

Beyond the Box 3 

Connecting 3 

GETTING INTO THE GAME 3 

Profile Management 3 

Xbox Live® 4 

Difficulty 4 

A Manual for the Professional 4 

Notoriety 5 

UP CLOSE 4 PERSONAL 6 

AGILITY 10 

N Climbing 4 Scaling 10 
UBTERFUGE TECHNIQUES 11 
Disguises 4 Concealment 11 

INGRESSION 12 

Doors, Locks 4 Security 12 

Distraction 14 

TOOLS OF THE TRADE 15 

Firearms, Situational 4 Equipment .... 18 

COMPENSATION 18 

Weapons 4 Tools 19 

Cleaning .'■■.. 19 

Recovering Surveillance Tapes 20 

POST MISSION . 20 

GAME CREDITS . . . ... 21 

MUSIC CREDITS . . 23 



COI1TROLS of the PROFESSIOflAL 



7 




O (left trigger! 



lleftthumbstiek] 
O (back) button 
O (start) button 




9 (directional pad) 



BUTTON 



© 



Q (click, hold/release) 



© (click) 



® */* 



o 



© < ta p> 

(hold/release) 



© (tap) 

(hold/release) 



O (tap) 



(hold) 



(pull & hold) 



O 



E» 



7 






/ 



ACTION 



Move character; Zoom map; 
Highlight menu options 



Throw item 



Aim 

Open/Close sniper scope; 
View Mode switch 

Zoom sniper scope/binoculars; 
Scroll through actions/items; 
Highlight menu options 

Scroll through maps/inventory 



Drop item; Exit map; Exit legend; Cancel 



Holster/Unholster weapon 
Open/Close inventory 



Pick up item 
Pick up list 



Carry out action; Confirm 
View action list 



Crouch; Sneak 

Map 



Fire; Use weapon; Close combat 



Reload weapon 
Objectives 



Start/Pause game 



\ 



box Live 



TAKE HITMAN BLOOD MONEY™ BEYONl 



Xbox Live® is a high-speed or broadband Internet gaming community where 
you can Create a permanent gamer identity, set up a Friends List with other 
players, see when they're online, invite them to play, and talk to them in real 
time (with an Xbox Communicator Headset) as you play. 



Before you can use Xbox Live, you need to connect your Xbox console 
to a high-speed or broadband Internet connection and sign up for the Xbox 
Live service. To determine if Xbox Live is available in your region and for 
information about connecting to Xbox Live, see WWW.XBOX.COM/CONNECT 



s 



GETTII1G into the GAITIE 



PROFILE MANAGEMENT 



Before embarking on a career as a Hitman, you must first prepare a profile. 
The profile keeps a record of your progress and preferences, along with 
weaponry choices, funds and other equipment and items you acquire. 

From the PROFILE MANAGER screen, choose CREATE PROFILE and enter 
a name for the profile. If you have a previously created profile, you can 
select this to resume the career. You can also delete profiles you no 
longer want. \ 



DIFFICULTY 



Once you've created a profile, you will then choose a difficulty level: 



ROOKIE 



• NORMAL 



EXPERT 



• PROFESSIONAL 



For the inexperienced, and those new to the world 
of the assassin. There are no limitations on how many 
saves you can make while attempting a mission. 

Suitable for those comfortable with contract killing. 
Each mission allows seven saves. 

For the practiced and experienced. Only three saves 
per mission are permitted. 

For the true professional only. No saves are permitted 
once a mission is in progress. 



XBOX LIVE^ 



Although the professional will choose not to reveal employment history, 
many assassins will wish to evaluate and compare their skills against other 
professionals around the world. 

In order to submit mission data, the professional must have an online 
connection and have created and signed on to his Xbox Live® account 
before starting the mission. Then, after each successful mission, the 
professional will be given the option to upload mission statistics and rank 
himself against all those who have attempted the same. 

note: You can also create a new Xbox Live® account manage your Friends List, and 
activate the Voice Through TV feature via the Xbox Live® menu, j 




A MANUAL 



PROFESSIONAL 



This manual provides insight into the mind and practices of the professional 
Hitman. This manual refers to the Hitman as "the professional." It explores 
the complexities, skills and the intricacies with which "the professional" 
conducts his craft. 

The professional techniques outlined in this manual vary in complexity, 
and are graded by difficulty using the following ranking system: 

HITITIAn TECHtliaUES 




ADVAHCED 




z 




^rz" ^r*- ^^ <<^ 



- \-> <4> -«J~> *J> *i> 

^& ^^ ^^ ^& ^v* 



NOTORIETY 



ANONYMITY, THE DISGUISE OF THE PROFESSIONAL 

Longevity in the profession is dependent on transparency in the world. The 
professional seeks solace in a world where the only way to carry out this 
sort of work is with anonymity. 

• The professional avoids the blood bath wherever possible, as this 
attracts the unwanted eyes of the law or multiple witnesses and an audit 
trail to his door. 

• If a witness lives, the professional's notoriety increases. The professional 
negates this by making sure he is not discovered on a job, and that no 
witnesses or clues are left on the scene. 

• When the professional takes civilian lives, the invariable result is taped 
TV footage and witnesses at the scene of the crime. When this happens, 
the professional gains notoriety. As notoriety increases, the ease with 
which the professional can carry out his next contract decreases. 

• For further insurance against discovery in areas covered by TV cameras, 
the professional can make sure to destroy all video-surveillance tapes. 

• The professional can assess his successfulness and his notoriety 
following a contract through, the media. If there have been witnesses, the 
newspaper is his best way of finding out. The professional should look 
out for newspapers while on location. These may detail previous targets 
and missions, and may even give a clue to the professional's identity. 



UP CLOSE & PERSOI1AL 

CLOSE COMBAT 

The professional uses close hand combat skills to eliminate the mark 
with minimum noise and when dealing with unforeseen circumstances. 
The majority of these skills are ideal in firearm-restricted areas. 




7 



HEAD USE l^J 
Use © to position 
yourself in front of 
the victim, then pull 
E) to head butt 
your target. 

THE PUNCH §§ 
While the victim is 
dazed, use © to 
position yourself in 
front of your target, 
then press pull ITE 
to punch. 

DISARMING l^l^ 
Use © to position 
yourself in front 
of the armed victim, 
then pull |]J to 
disarm the person. 

note: During the struggle, it's possible that the firearm will go off accidentally. 



CONCEALING WEAPONS 

Whenever possible, 
the professional 
carries out his work 
using tools that can 
be concealed on his 
person. He has 




i \ x a r ' 



a number of tools at his disposal that, when concealed, can go undetected 
in most public areas. 

Use © to walk toward the mark, hold © to access the inventory and then 
select a firearm. Pull Mzh to discharge the firearm, then tap © to holster 
and conceal it. 




FIBER WIRE I* 

The fiber wire is 

the 'most difficult 

of your weapons to 

use but the easiest 

to conceal. It is also 

the quietest and most 

efficient tool to use to avoid raising an alarm. 

Select the fiber wire from inventory, then pull and hold P to tighten 

the fiber wire and automatically enter sneak mode. Use © to maneuver 

_^ ^^ 

behind the mark, then release Hi to strangle the victim. 
\ 
note: If you are spotted or you fail to execute this move in one fluid movement your 
intended victim may become alerted, and attempt to raise an alarm or attack! 



efl- f 



ELEVATOR 

The professional 

often looks for 

secluded areas away 

from TV cameras 

and civilian witnesses 

to eliminate a guard \ 

or mark. Elevators provide an excellent space in which to do this. 

While in an elevator, access the roof hatch by pressing pull © . Equip 
the fiber wire from inventory, and then look toward the open hatch. While 
a victim is visible below, press © to strangle and pull the mark up 
and out of the elevator. 



KNIVES I^HI^H 
Knives are another 
silent, easy to 
conceal, efficient 
means for the 
professional to 
eliminate the mark. 



\ 



I'r 5 */; 



Select the knife from inventory. Pull and hold %3 to enter sneak mode, 
and sneak toward the mark. When you're behind the victim, pull D 
to silently slit the mark's throat. 



To throw a knife, use 
the CJ to aim at the 
victim, click and hold 
©, then release © 
to kill your mark. 




If <*l 



SYRINGES I^II^M 

The professional 

uses two types 

of syringes. The 

sedative syringe (non 

lethal) is an effective 

means of sedating 

guards and civilians obstructing your path. This reduces your notoriety 

by limiting the amount of civilian casualties. Use the poison syringe (lethal) 

either to eliminate a mark directly or to administer poison to food and 

drink, allowing you to terminate the mark from a safe distance. ^^^^^^ 

Select a syringe type from inventory, and then pull (9 and use © 

to sneak up behind the victim. Once behind the mark, pull E9 to inject 

poison into the victim's neck. 

POISON f^ll^l 

The professional 

often studies 

behavioral patterns, 

and then uses poison 

to eliminate the mark 

with clinical precision from a safe distance./ 

Stand in front of the food or beverage, open the inventory and select 

the required syringe. Use © to aim the crosshair at the food or beverage, 

and pull E9 to poison the item. 

note: The professional will use any means at his disposal to gain the strategic 
advantage required to successfully execute his contract. 

HUMAN SHIELD 10 

When backed into 

a corner, the 

professional must 

take every advantage 

to safeguard his exit 

from the scene; this 

may mean using a human life as a protective shield. 

Equip a concealable firearm from inventory, then approach the victim from 
behind and press © to grab the mark and use him as a human shield. 






Press 9 to reload 
the firearm while 
holding a human 
shield. 





usefuli 



Iness is over. 



When out of danger, 
press © again to 
knock the human 
shield unconscious, 
or press © to push 
the human shield 
to the floor once his 

JUMPER f^lf^l 

The professional 

can use the veil of 

suicide when offered 

a huge height and 

a target. Walk up 

behind the mark. 

When you're close enough, pull Qf to push the mark over a ledge 

or railing. 




10 



AGILITY 

TRAVERSING THE ENVIRONMENT 

The professional looks for the most anonymous path through 
the environment and will exhaust all possible avenues of access 
to the mark in preparation for a contract. 



CLIMBING 8c SCALING 



i 



JUMPING WALLS \M 
Using ©, first 
approach the wall, 
then push forward 
toward it to 
automatically jump it. 

JUMPING BALCONIES 

Using ©, approach 
the balcony, then 
push forward toward 
the edge to 
automatically jump 
across it. 



CLIMBING THROUGH WINDOWS 

Using ©, approach 
the open window, 
then push forward 
toward it to 
automatically 
climb through. 

WALKING A LEDGE 

Approach the ledge, 
then push toward it 
to automatically 
climb onto it. 



c 




II 




CLIMBING DRAIN PIPES 

Approach the 

drainpipe, then push 

toward it to 

automatically climb 

onto it. Push Q 

#/#- to ascend/ 

descend. Pull Q to drop off the drain pipe. 



'II 111 'd_ 



CLIMBING LADDERS l*H 

Approach the ladder, then push toward it to 

automatically climb onto it. Push Q #/# 

to ascend/descend. Pull (9 to drop off the ladder. 



rm 



SUBTERFUGE TECHI1IQUES 



DISGUISES & CONCEALMENT 



The professional will often apply subterfuge techniques to evade detection 
and introduce the element of surprise to an unsuspecting mark. 

DISGUISES S^S 

The professional seeks 

anonymity on a contract, 

acquiring disguises from 

rooms and changing areas, 

and opportunistically from 

the people wearing them. 

Disguises allow the professional to infiltrate and move undetected through 

areas of high security. Similarly, when dressed as a worker, the professional 

carries the tools of that profession and can use them as weapons without 

raising suspicion. For example, as a workman the professional will carry 

hammers and nail guns; as a gardener he will carry shears; and so on. 

Stand near a dead or unconscious body, then press © to change 
into the disguise. 




IB 




CONCEALING BODIES 

The professional 

carries out his work 

exercising discretion. 

When unplanned 

terminations are 

made during a 

contract, the professional quickly seeks out a hiding place to conceal 

the body or bodies. 

Stand near a dead or unconscious body and press Q to begin dragging it. 
Press © to drop the body. 

DISPOSING OF BODIES 

On more complicated 

contracts, unplanned 

casualties may occur. 

These terminations 

can jeopardize cover, 

alert security and 

arouse suspicion in the mark. The professional avoids this at all costs, 

quickly adapting to the environment, disposing of bodies in freezers, 

wardrobes, showers and badly lit areas. / 

Stand near a dead or unconscious body and press Q to drag it. 
Press Q to open the lid of a container, then press Q again to dump 
the body inside. 





iriGRESsion 




DOORS, LOCKS & SECURITY 



The professional is an expert locksmith with a number of specialist tools 
and distraction techniques at his disposal to gain access to the most highly 
secured areas. 

SURVEILLANCE A COMMUNICATION TECHNIQUES 

Knowledge is integral to the professional's survival. Every detail is 
meticulously researched so that all possible scenarios, exits and escape 
routes are thoroughly explored. 



IS 



SURVEILLANCE LJ 

The professional will 
often scope out a 
room before entering 
it, negating any 
unnecessary surprises 
and ensuring that 
nothing is left to chance. 

Using Q, approach the door. Pull and hold Q to crouch in front of it, 
then press Q to look through the keyhole. Press Q again to exit 
keyhole view. \ 




\ 



COMMUNICATION N^ 

The professional often applies subtle 

communication techniques on staff 

members to gain layout and location 

information. 

Walk up to the person and press Q 
to initiate conversation. 



\ 



EH9 



LOCK PICKS ^dL> 

The lock pick is a default 

tool used by the 

professional on every job; 

it is easily concealed 

and is not detectable by 

hand-held or walk-through 

detection devices. The professional can also purchase more enhanced lock 

picks for slicker, speedier access. 

Approach a locked door and press Q to begin picking the lock. 




an ; 




KEY CARDS 4 READ/WRITE DEVICES 

In areas of high 

security, the 

professional requires 

access key cards to 

gain access to the 

mark. You can steal 

key cards from rooms or security when on a contract. \ 

Approach the locked door and press Q to equip the key card 
and open the door. 



M 




BREAKING LOCKS ^ 

Things occasionally 

go wrong on a job 

and the professional 

needs to gain quick 

entry to an area 

without time to use 

a lock pick. When faced with no other option, you can gain access 

by shooting the door lock. (This only works on conventional door locks 

and not on key card areas.) This is the riskiest solution as the noise 

of shooting the lock may alert security or result in discovery 

of a damaged door. 

Select a firearm from inventory, walk up to the door, and use Q to aim 
the crosshair at the lock. Pull l:W to fire and break open the lock. 




HIDING IN THE CLOSET ^ 
Stand in front of the 
closet and press Q 
to enter it. Press 
Q when inside 
the closet to exit. 



DISTRACTION 



10a 



/ 



Using a range of distraction techniques, the professional gains extra time 
on a contract and access to high security areas. 

/ 

COINS A THROWN ITEMS 

The professional will often 

throw an item such as 

a coin into a guarded / 

area to force security to 

investigate the created distraction. The professional often uses these 

techniques to lessen civilian and security casualties, or to enable 

an undetected passage into high security areas. 

Select a coin from inventory (or equip another small item to throw) 
then click and hold Q to prepare to throw. Use Q to aim the crosshair, 
then release Q to throw the item. 




IS 



'A 



MANIPULATING LIGHT 

The professional can 

use a firearm to 

shoot out lights and 

shut down power 

junction boxes 

to plunge an area into darkness, forcing security to investigate. The 

professional will manipulate light wherever possible to remain anonymous. 

Stand in front of the switch or junction box and press Q to plunge 
the room or area into darkness. You can also destroy lights. Equip 
a firearm from inventory, use Q to aim the crosshair at the light source 
and pull HW to fire a shot and destroy it. 

\ 
TOOLS of the TRADE 



Tools are the only things in the professional's life that can be truly relied 
upon. The professional studies and masters each of his tools so that he 
can use the correct application on every contract — guaranteeing anonymity 
and minimum exposure in the field. 



r IREARMS, SITUATIONAL & EQUIPMENT 



stoL 



PISTOLS 4 HANDGUNS 

The professional opts for the pistol and 
handgun for their power and size. Pistols 
and handguns are easily concealed, 
and once silenced become a highly 
effective means of eliminating the mark. 
The professional uses these weapons only 
in close proximity to the mark, since they 




offer limited clip capacity and accuracy over long distances, 



rU 



ASSAULT RIFLES 

The professional opts for assault 
rifles as an option only when 
cornered or in clutch situations. 
The size and noise of the assault 
rifle makes it very difficult to conceal. 
In its favor, the assault rifle offers 
a range of 300m but must be used 
with single shot and burst fire 
to afford any kind of accuracy. 



X 




16 

SUB-MACHINE GUNS 

The sub-machine gun offers 
the professional a high rate of fire and 
lightweight maneuverability when in close 
proximity to the mark. The sub-machine 
gun is the least subtle choice when on 
a job and doesn't offer the accuracy 
or anonymity of a silenced weapon. 

SHOTGUNS 

The shotgun is devastating in close 
quarters but makes a lot of noise! 
The professional will only resort to using 
this type of weapon when backed into 
a corner or as a last resort. 



SNIPER RIFLES 

The professional's choice, the sniper rifle 
is the most powerful and accurate 
means of eliminating the mark. This 
weapon can be silenced and used long 
distance from a safe vantage point, then 
broken down into a concealed briefcase. 

The sniper rifle is 
the favorite weapon 
of the professional 
and, when mastered, 
is the deadliest ally. 



REMOTE BOMBS 

The remote bomb is another useful tool which 
the professional can plant in a mark's room 
and then detonate from a safe distance. 

The professional uses explosives intelligently 
and strategically to eliminate the mark. 




17 





■!•; 



Ml 



RIGGING BOMBS 

An explosive device 

placed on the fixing 

point of a chandelier 

not only eliminates 

the mark successfully, 

but is also initially perceived as an accident, ensuring your smooth exit 

from the scene. There are other ways a professional can choreograph 

a hit to be perceived as "accidental." See ENVIRONMENTALIST below 

for an example. 

^^^^^^ \ 

THE FALL 

The professional looks for opportunistic suspended items that could 

demolish a mark. These can be brought crashing down with clever use 

of explosives, or by shooting glass or fixture points using a high-powered 

weapon such as a sniper rifle. 

ENVIRONMENTALIST 

The professional has an eye for ingenious ways of dressing a hit as an 
accident. For example, when in a kitchen, the professional notices the gas 
burner and its explosive potential. He weighs every opportunity and makes 
the hit look like a freak accident whenever possible. 

BINOCULARS 

The professional's best tool for surveillance work. Binoculars provide 

an excellent tool for surveying and spying on the mark's behavioral patterns 

from safe distances. 



\ 



MISSION BRIEFING 

The professional carries the mission briefing 
throughout the contract so that he can refer 
to objectives and mark information at will 
and leave nothing to chance. 



\ 






MAPS 

Detailed maps and intelligence are paramount 
to the success of a contract. The professional 
uses maps as his main navigational means. 
The map's attention to detail ensures that he 
never gets lost and that detailed intelligence 
on guards, security and the mark's location 
are always at his fingertips. 

The professional can buy additional info and 
intel on more complicated jobs to ensure that 
everything goes smoothly. This additional data 
is always included on the map. 







18 



comPEnsATion 

PAYMENT 

The professional takes payment in unmarked bills, which he can easily 
transfer to an offshore bank account, avoiding detection. The professional 
is paid according to risk and the social or political prominence of the mark. 
The higher the profile and complexity, the higher the price. The professional 
often receives bonuses for executing a contract quickly, smoothly and 
without trace. The professional can earn additional cash by retrieving 
suitcases and money from safes on the scene. 

note: Replaying a mission can earn you more money; however, you will only receive 
the difference between the initial and new earnings. 

SPENDING 

The professional leads a frugal existence, preferring not to draw attention 
to himself with extravagant spending. The professional can choose to spend 
money on new tools, information and — when required — cleaning services 
on contracts that went badly with high civilian casualties. 

INTELLIGENCE 

Before beginning a contract, the professional 

can choose to purchase information aiding 

completion of mission objectives and 

concerning the mission as a whole. He can 

also purchase target location information 

(room location, behavior, next expected 

location) and access information (disguise 

requirements, location of off-limit areas, 

key-carded doors, frisk and search 

points, possible smuggle opportunities). 

The professional often tries to purchase structural information 

for the location in question. 

7 

PURCHASING AGENCY PICKUPS 

The professional can purchase additional items to aid completion 
of the contract. These are placed and marked on the map as Agency 
pickups. The Agency may sometimes employ a contact to deliver 
valuable information. 





IS 



WEAPONS & TOOLS 



The professional often elects to purchase 
upgrades in the form of specialized weapons. 
These weapons are always untraceable, so 
they have to be ordered through a trusted 
fence before purchase. The professional 
chooses the highest-quality tools and weapons 
on the market: 



ADVANCED LOCK PICKS 





• ADVANCED BINOCULARS 



ADRENALINE 
KEVLAR VEST 



PAINKILLERS 



\ 



Allows the 

professional to 

pick locks faster; 

allows access to key-carded doors without 

the relevant key card; requires additional time. 

Incremental zoom, with better overall vision 
capabilities and digital distance counter. 

Restores partial health. 

Allows the 
professional to 
absorb some 
projectile hits. 

Provide a small 
health boost. 





The professional performs all his own cleaning where possible, but 
occasionally is forced to hire external help if he has had to make 
an emergency exit when a contract has gone badly. He can take care of 
non-disposed-of bodies and use bribes to reduce notoriety. 

note: Replaying a mission and finishing with a lower notoriety value than originally 
awarded in turn lowers your current notoriety level. 



BO 



RECOVERING SURVEILLANCE TAPES 



The professional 

meticulously plans 

the contract ahead 

using information 

provided in the 

Agency's mission 

briefing. From the briefing, the professional knows where TV cameras 

are located, but sometimes under pressure he is forced to perform an 

unplanned action that may be caught on camera. The professional always 

(circumstances allowing) carries out his own cleaning on an untidy contract 

The professional locates the TV control room and removes all evidence. 

Stand in front of the recording unit and press Q to remove the tape. 





AITIE CREDITS 



I- 

< 
B 
u 
I- 



post mission 




Once the professional has successfully 
completed a mission, he will often need to 
address several expenses. These cover 
a number of different circumstances, 
for example the retrieval and replacement 
of items left at the scene, such as suits 
and custom weaponry. 

It may also happen that potential witnesses 
have been left at the scene. These can both 
jeopardize your anonymity and make future 
contracts that much harder to complete efficiently. 

Additionally, the unlawful killing of innocents and law enforcement officials 
will raise the profile of completed missions. This is also an expense 
to the professional; the Agency charges him for the killing of innocent 
civilians and officers in duty. Unnecessary publicity is bad for business 
and this contributes tb the final Damage Control penalty, displayed 
post mission. 

The professional can handle all expenses (both mandatory and optional) 
upon successful completion of the mission. 






Game Director 

Rasmus Hojengaard 

', Technical Producer 
Martin Amor 

Art Director 
Tore Blystad 

Gameplay Director 
Peter- Fleckenstein 

Produceh, 

Helle Marijnissen 

Programmers 

Jens Bo Albretsen 

Brian MeideH Andersen 

Marcell Baranyai 

Carsten Briigm'ann 

Zoltan Buzath \ 

Bo Cordes 

Neil Coxhead 

Theo Engell-Nielseri. 

Chris Gilbert 

Martin Harring 

Morten Heiberg 

Michael Holm 

Morten Suldrup Larsen 

Peter Malnai 

Peter Wraae Marino 

Sandor Nyako 

Stein Nygard 

Lars Piester 

Mads 0sterby Olesen 

Rasmus Sigsgaard 

Jens Skinnerup 

Hakon Steino 

Jeroen Wagenaar 

Artists 

Jacob Andersen 
Tobias Biehl 
Marek Bogdan 
Svend Christensen 
Timothy Evison 
Peter Fleckenstein 
Thor Frolich 
David Giraud 
Allan Hansen 
Bo Heidelberg 
Tom Isaksen 
Soren B. Jensen 
Sascha Jungnickel 
Jesper Vorsholt Jorgensen 
Rasmus Kjaer 
Sebastian "Vlad" Lindoff 
Oskar Lundqvist 
Stephan Nilsson 
Mads H. Peitersen 
Anders Pedersen 
Jesper Kieler Petersen 
Alexander Pshenichniy 
Birgitte Bay Overgaard 
Thomas Storm 
Gyorgyi Szakmar 



Animators 

Barbara Bernad 
Frederik Budolph-Larsen 
Jens Peter Kurup 
Soren Lumholtz 
Frederic Poirier 
Martin Poulsen 
Thomas P Theede 

Gameplay Scripters 
Jesper Donnis 
Jonas Lind 
Thomas Lofgren 
Jacob Mikkelsen 

Sound Designers 
Ivan Brandt 

Thomas "Tomzen" Dietl 
Simon Holm 
Michael Ziegler 

Engine Programmers 
Rune Brinckmeyer 
Micky Kelager Christensen 
Kasper Engelstoft 
Karoly Farago 
David Guldbrandsen 
Karsten Hvidberg 
Michael Bach Jensen 
Asger Mangaard 

\Mircea Marghidanu 
Allan Merrild 
Morten Mikkelsen 
Kasper Hoy Nielsen 
Martin Pollas 
Joft Rocatis 
Herrning Semler 
Gyula "Luppy" Szentirmay 
Torste^n Kjaer Sorensen 
Andreas Thomsen 

Script Writer 
Greg Nagan 

Additional Programmers 
Peter Andreasen 
Jesper Christiansen 
Henrik Edwards\ 
Martin Gram 
Martin Liitken 
Michael Juel Nielsen' 

Additional Artists 
Michael Bing 
Alan Cameron Boyle 
Morten Bramsen 
Miklos Bute 
Johan Flod 
Henrik Hansen 
Mads Prahm 

Morten "Mazy" Hedegren 
Michael Heilemann 
Balazs von Kiss 
Peter von Linstow 
Roberto Marchesi 
Peter Eide Paulsen 
Rasmus Poulsen 



:lsen 






SI 



Additional Animators 
Anders Haldin 
Gabor Horvath 
Craig Kristensen 
Martin Madsen 
Doron Meir 
Simon Sonnichsen 
Kim Zoll 

Additional Sound Designer 
Peter Wendelboe Hansen 

Additional Engine 
Programmers 

Thomas Jakobsen 

Ulf Johansen 

Steffen Toksvig 

Additional Script Writer 
Morten Iversen 

Music 

Composed and Produced 
by Jesper Kyd (Score) 
Performed by the Budapest 
Symphony Orchestra (Score) 

QA 

Petronela Cimpoesu 
Hugh Grimley 
Klavs Kofod 
Janus Rau 
Oliver Winding 

Additional QA 

Natasza Ashkanani 
Christian Egense 
Mikkel Havmand 
Frederikke Hoff 
Uffe Holm 
Tatiana Hojengaard 
Marja Konttinen 
Jakob Mygind 
Thomas Moller 
Kristian Rise 
Jakob Rod 

Management 
Janos Flosser 
Morten Borum 

Support 

Mette Agerbaak 

Else Andersen 

Michael Andersen 

Ulla Andersen 

Anni Greve Andersen 

Fredrik Ax 

Jakob Bondesen 
k Charlotte Delran 
*• Chris Edgar 

Peter Fischer 

Caecilie Heising 

Thomas Howalt 

Tantiana Hojengaard 

Niels-.Jorgensen 

Soren Reinhold Jensen 

Christdffer Kay 



BB 



Ul 




Support (continued) 




Jorgen Larsen 


> 




Tamir Lomholt 




Karsten Lund 






Ulf Maagaard 


^ m 




Foad Mojib 


1- 




Jonas Nielsen 




Rune Petersen 







Mads Prahm 


/-> 


Genevieve Ripeau 




TJ 


Niels Ole Sorensen 


< 




3 

c 


Martin Schroder 


Christine CT Tharup 


a 


Kjartan Vidarsson 




Voice Casting & Direction (US) 


Ul 


C 



KBA Voice Production 


Featuring the Voice Talents of 


H 


o 


David Andriole 


w 


David Bateson 


C 




Barbara Bernad 




Brian Beacock 






Joan M. Bentsen 


^" 




Michael Benyer 


1 




Nicole Black 




Scott Bullock 







Billy Cross 




Christopher Curry 


™ 




Vinny Curto 
Mark Deakins 
Christine Dunford 
Wayne Duvall 



in 

o 



ui 



CEO 
Jane Cavanagh 

Commercial Director 
Bill Ennis 

Financial Director 
Rob Murphy 

Company Secretary 
Anthony Price 

Head of European Publishing 
Scott Dodkins 

Product Acquisition Director ■ 
Ian Livingstone 

Worldwide CTO 
Julien Merceron f 

Development Drirector 
Darren Barnett 

Executive Producer f 
Neil Donnell 

Assistant Producer 
Adam Lay 



Alfred Fair 

Crispin Freeman 

Jorge Garcia 

Grant George 

Jessica Gee 

Bob Glouberman 

Francois Eric Grodin 

Nemi Fadlahllah 

Jean Claude Flamant 

Thor Frolich 

Heather Halley 

Danielle Hartnett 

Stew Herrera 

Tish Hicks 

Stephani Hodge 

Tray Hooper 

Roger L. Jackson 

Peter Jessop 

Bill Jurney 

Barry Gordon Mc. Kenna 

Mark Klastorin 

Celestino Lancia 

Noah Lazarus 

Micheal Lindsay 

Deborah Marlowe 

Jennifer Martin 

Don Mathews 

Vivienne McKee 

Jim Meskinen 

Ennis Morris 

Bob Neches 

Byrne Offutt 



Creative Development Director 
Patrick O'Luanaigh 

Head of Global Brand 
Larry Sparks 

BrandManager 
Kathryn Clements 

Head of Support Services 
Flavia Timiani 

/Senior Localisation Manager 
Monica Dalla Valle 

Localisation Manager 
Alex Bush 

Creative Manager 
Quinton Luck 

Senior Designer 
Jodie Brock 

QA Manager 
Marc Titheridge 

QA Supervisor - Functionality 
John Ree 



Jeremy C. Petreman 

Carlos Reig Plaza / 

Billy Pope 

Earth Miller Bernard Reeves 

Sam Riegel 

Daniel Riordan 

Paul Rugg 

Sam Sako 

Pete Scherer 

Karen Strassm.an 

Mathew Stravitz 

Miles Stroth' 

Jim Thornton 

Trey Turner 

Sal Viscuso 

Wade Williams 

Laura' J. K. Wrang 

Voice Recording Studio (US) 
Studiopolis 

Mocap Actors 

,' Christopher (Jack) Corcoran, 
/ Tina Robinson, 

Bo Thomas, Jamie Treacher 

Cellist 

Helle Sorensen 

Additional Artwork 

Supplied by Mine Loader 
Software Co., Ltd. 



QA Lead Technicians 
David Haddon 
Germaine Mendes 
Shams Wahid 

QA Technicians 
Richard Acherki 
Steve Addis 
Linus Dominique 
Allen Elliott 
Steve Inman 
Carl Perrin 
William Wan 

Special Thanks 

A big thanks to all our 
European Marketing, 
Sales and Web teams 
as well as our Finance 
department who have done 
a wonderful job to make 
this game happen. Your 
tremendous work is much 
appreciated. A big thanks 
also to Tom Waine for 
writing this manual. 




cn 



Ul 



CEO & President, 
Eidos North America 
Bill Gardner 

Executive Vice President 
of Marketing & Sales 
Robert Lindsey 

Vice President, 
Legal & Business Affairs 
James O'Riordan 

Vice-President, Finance 
Malcolm Dunne 

Vice President, Human 
Resources 
Edie Dykstra 

Marketing Manager 
Jefferson Dong 

Public Relations. Director 
Michelle Seebach Curran 

Public Relations Manager 
Tali Fischer 

Online Public Relations 
Specialist 

Matt Dahlgren 

National Sales Manager 
Joe Morici 

Channel Marketing Manager \ 
Janty Sumimoto 

Senior Channel 
Marketing Specialist 
liana Budanitsky 



Channel Marketing 
Project Manager 
Diane Eng 

Channel Marketing 
Coordinator 
Rafal Dudziec 

Director of Marketing 
Communications 
Stephanie Lipetzky 

Creative Services 
Project Manager 
Eileen Buenviaje 

Media Specialist 
Micheal Tran 

Graphic Designer 
James Song 

Web Producer 

Roderick Van Gelder 

Web Designer 
John Lermer 

Operations Manager 
Gregory Wu 

Senior External Producer 
Nick Goldsworthy 

Associate Project Manager 
Clayton Palma 

QA/CS Manager 
Mark Cartwright 



\ 



mUSIC CREDITS 

a \ 



Music sou reed by 



B3 



CS Supervisor 
Sean McCloskey 

CS Agents 
Adam Braswell 
Richard Campbell 

Senior QA Technician 
Stephen Cavoretto 

Assistant Lead QA Technician 
Richard Hartzell 

Quality Assurance 
Katie Bieringer 
Richard Campbell 
Nicholas Cooprider 
Ergin Dervisoglu 
Kip Ernst 
Stephanie Greer 
John Hayes 
Mackenzie Hume 
Nick Jacobson 
Aaron Keillor 
Erik Kennedy 
Chester Lee 
Jeff Lowe 
Joshua Pfeiffer 

Special Thanks 
Jordan Romaidis, 
Patrick Goodspeed, 
Annie Meltzer, Sean Mylett, 
Petrol Advertising, 
Shane Francis Co., 
Danny Jiang, Susan Kwon, 
Jason Bergquist, 
Hanshaw Ink & Image 



"Double Trouble" Performed by John Mayall's 
Bluesbreakers Courtesy of The Decca Record 
Company Ltd 

Licensed by kind permission from the Film 
& TV licensing division. Part of the Universal 
Music Group. 

"Double Trouble" composed by Otis Rush. 
Published by Conrad Music, A Division 
of Arc Music Corp. 

"White Noise" performed by The Vacation. 
Written by Ben Tegal & Steve Tegal. Produced 
by Tony Hoffer. Published by Chrysalis 
Music Limited. 

Appears by kind permission of Chrysalis Music 
and The Echo Label (P) & (C) The Echo Label 
Limited 2004 

Taken from the album Band From World War Zero 

Published by Zenith Publishing Ltd. © 2003 Zenith 
Publishing Ltd. Written by P Watts/S Gillett/ 
J Reeve. Performed by "Airbiscuit" from the album 
Caldo-Freddo. Recording Copyright 2003 Zenith 
Cafe Ltd 



www.airbiscuit.net — 
www.zenithcafe.co.uk 
info@zenithcafe.co.uk 

"Tomorrow Never Dies" (Karaoke version) Music: 
RosendahJ/Christensen. Lyrics: Rosendahl/ 
Rosendahl\ Performed by Swan Lee. Karaoke 
version sung by Barbara Bernad. 

"Tomorrow Never Dies" (Original version) Music: 
Rosendahl/Christensen. Lyrics: Rosendahl/ 
Rosendahl. Performed by Swan Lee. Original 
version sung by Pernille Rosendahl 

Franz Schubert (1 797): "AveMaria." The work is 
in the Public Domain.' 

Artists: Daniel Perrett, Soprano. Praxedis Riitti, 

Soprano. From the alburn, Tudor4 7029 

Ave maria. Ziircher Sange'rknaben. Conductor: 

Alphons von Aarburg. © 1 9"95 Tudor Recording AG, 

Zurich/Switzerland 

"Slasher" Music and lyrics: Bo Heidelberg 
& Kim G. Hansen Performed by institute 
for the Criminally Insane 




Register online at 
www. eidosregistration.com 

EIDOS, INC., LICENSE & LIMITED WARRANTY 

Eidos, inc., warrants to you, the original purchaser of this disc, that for a period of 

ninety (90) days from the date of your purchase, this disc shall be free from defects in 

materials and workmanship. If, at any time during the applicable ninety (90) day 

warranty period you determine that this limited warranty has been breached, Eidos, 

Inc., agrees, "jn its sole option, to repair or replace, free of charge, any such disc, 

provided the disc is returned postage-paid to the Eidos, Inc., Factory Service Center 

and a proof of date of purchase is included. This limited warranty is not applicable to 

normal wear and, tear and shall be void with respect to any defects that arise 

from disc abuse, Unreasonable use, mistreatment or neglect. This disc is sold "as is" 

without any warranties of any kind, express or implied, including implied warranties 

of merchantability or fitness for a particular purpose, other than the limited warranty 

expressly stated above. 

No other claims arising put of your purchase and use of this disc shall be binding 

on or obligate Eidos, Inc., in any manner. Eidos, Inc., will not be liable to you 

for any losses or damages incurred for any reason as a result of your use of this disc, 

including, but not limited to, any special, incidental, or consequential damages 

resulting from your possession, use or malfunction of this disc. 

This limited warranty states the entire obligation of Eidos, Inc., with respect 

to the purchase of your disc. If any part of this limited warranty is determined 

to be void or illegal, the remainder shall remain in full force and effect. 

For warranty support please contact our Customer Support department 

at (415) 615-6220. Our staff is available Monday through Friday, 9:00 a.m. 

to 12:00 noon and 1:00 p.m. to 5:00 p;m. Pacific Time. You are responsible 

for all toll charges. 

Customer Support Representatives will not provide game hints, strategies 

or codes. 

PRODUCT RETURN PROCEDURE 

In the event our support agents determine that your game disc is defective, you will 
need to forward material directly to us. Please include a brief letter explaining what 
is enclosed and why you are sending it to us. The^agent you speak with will give 
you an authorization number that must be included and you will need to include 
a daytime phone number so that we can contact you if necessary. Any materials 
not containing this authorization number will be returned to you unprocessed 
and unopened. 
Send your postage-paid package to the following address! 

Eidos, Inc. Customer Services 
RMA# (state your authorization number here) 
651 Brannan Street, Suite 400 
San Francisco, CA 94107 
You are responsible for postage of your game to our service center. 

© 2006 IO Interactive A/S. Developed by IO Interactive. Published by Eidos, Inc. Hitman, Hitman Blood Money, Eidos and the 
Eidos logo are trademarks of SCi Entertainment Group. IO and the IO logo are trademarks of IO Interactive A/S. The ratings 

registered trademark of the Entertainment Software Association. All rights reserved. 
Microsoft, Xbox, Xbox Live, the Live logo, and the Xbox logos are either registered trademarks or trademarks of Microsoft 
Corporation in the United States and/or other countries and are used under license from Microsoft.